By Marc S. Sanders
Oprah Winfrey has a big head.
I don’t mean a big head as in a large ego. I mean Oprah Winfrey has a BIG HEAD. So BIG that I caught every sprinkle of glitter in her eyebrows and lipstick that it looked like it came out of the discount basket at Justice For Girls. Why do I focus on this first and foremost? Well…because that is about where the scope of imagination stops in Ava DuVernay’s direction of A Wrinkle In Time.
Remember the first time you saw The Wizard of Oz? Remember when Dorothy walks out of her monochromatic home and into the brightly lit Munchkinland? Judy Garland walked cautiously. Spoke carefully (“Toto, I have a feeling we’re not in Kansas anymore.”) There was a reaction to all of the grandeur and strangeness. Now, over 82 years later, many fantasies on film refuse to take inspiration from that timeless cinematic moment. A Wrinkle In Time definitely doesn’t.
In Duvaraney’s interpretation, Reese Witherspoon, dressed in a white king size bedsheet with hideously bright orange hair can just appear in the living room of a home and no one has nary a response to the unusual. There is neither panic, nor a “wow,” not an eye bulge, not a large swallow of gulp. Nothing. The protagonist, Meg, and her mother just say who are you (actually I’m not sure they even said that), and Reese puts on her over exaggerated smile and cheerful vocal inflection and speaks in some kind limerick dialogue. She walks out the front door, disappears into the night, and no one says anything; no one ponders anything. There is no imagination in the filmmaking here, nor in the scriptwriting. This is a fantasy, right?
Mindy Kaling is another fantasy character in garish makeup and costume. She quotes expressions from various poets and artists from history. Why? I don’t know. What does she lend to Meg’s mission? Yawn!!!! Nothing.
Zach Galifianakis accepted the role of another weird character that Johnny Depp probably turned down, and would have likely been offered to Robin Williams had he still been alive. Zach has nothing to say either.
Meg has a little brother named Charles Wallace. I know this because the script hammers away this kid’s name over and over again. Charles Wallace. Charles Wallace. CHARLES WALLACE!!!!! Not just Charles. This kid is always addressed as CHARLES WALLACE!!!! There’s a drinking game in the making. Give the movie 15 minutes and I promise you, you will be heavily intoxicated after hearing CHARLES WALLACE again and again and AGAIN!!!!
All of these claims go back to my one main, sole issue with this film. A complete lack of imagination and awareness of its fantasy.
DuVernay films Oprah as a towering 20 foot presence (literally) and fills in every void of space on the screen with her head. “CHARLES WALLACE” is about all Meg says to her little brother; there’s no sibling connection. Lastly, the most glaring error, is there is no reaction to the wonder of this fantasy. Were any of the actors informed there would be more to the green screens they were filming in front of?
So, it’s a nay for me. If you are going to do a fantasy make sure everyone in the production gets the memo please.
Oh yeah, Meg is on a mission to find her missing father in the universe of time or something like that. Yeah. That whole thing never mattered much to me. It didn’t really seem to matter much to Meg either.